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Catalog TOC <<Page>> THE MEANING OF THE MODAL FRAMEWORK IN THE SINGING OF RELIGIOUS HYMNS BY CHRISTIAN ARABS IN ISRAEL Dahliah Cohen, Jerusalem By the term "modal framework" we mean the accepted framework in which a certain musical repertoire is organized, as for instance, the Maqdmdt in Arab music or the Raga in Indian. Modal frameworks are currently considered to be melodic types1, but no exact deifnition exists of these melodic types. Even the various theories2 do not present a precise determination of the modal framework and this is even more markedly lacking in performance practice.3 There are many factors that may be considered in attempting a deifnition of this framework. They can be divided into four areas. A. Elements of musical structure, which may include: 1. The scale (a) In the conventional meaning. (b) Considered in its system of intonation; that is, the precise pitch of tones and the exact relations between them. (The intonation is occasionally com­ plicated but it is important in characterizing most non­Westernized music.) J See, for example, the entries "Melody­type" or "Echos", in Willy Apel, Harvard Die­ tionaryofMusic, London, (1955), pp. 225, 438. 2 For example, the theory of Maqamat as it was most systematically formulated by the learned theoretician Safi al­Din in the thirteenth century suggests that the maqamat is not only a scale but is rather a framework determined by both the melody and the rhythm. (He calls this framework (ariqa ­ that is, "the way"). However, he considers the scale and the rhythm separately and the connection between them is not clear (see H. G. Farmer, "The Music of Islam", in The New Oxford History of Music, Vol. I (Oxford 1957), pp. 462­465 and idem, The Sources of Arabian Music (Leiden, 1965, pp. XIH­XXII and 48). Contemporary Arab theoreticians are adopting modern Western terminology and methods even though they, in some ways, continue the tradition of the Middle Ages (see Baron R. d'Erlanger, La musique Arabe, Paris 1949, Vol. V, pp. VII­VIII). An exact deifnition of the term maqam will not, however, be found in their work. The term maqam is used as a label for several different things: a system of intonation, a tetrachord and a mode in the Western sense. (For details see the chapter on maqamat in the present writer's work The Liturgical Hymns of the Christian Orthodox and Greek Catholic Arabs in Israel, 1967, pp. 173­178). 3 Most of the scholars who have dealt with musical practice in the Middle East (Villoteau, Jeannin, Parisot, Thibaut, Rebours, Idelsohn, Lachman, Stephan and Gerson­Kiwi) speak of the modal framework as deifned by melodic motifs. They do not, however, deal with the other musical components, or take into account the problem of performance or differentiate between theory and practice. Catalog TOC <<Page>> 24 Dcdiah Cohen 2. The range (a) The interval of the ambitus, by which we mean the largest interval en­ compassing the melody. (b) The tessitura ­ that is, the relative pitch of the ambitus or the extent of the melody in relation to the finalis and central notes. (c) The absolute range of the ambitus (diapason). 3. Rhythm and meter 4. The tempo (a) Changes of tempo and their extent. (b) The absolute extent. 5. The central notes 6. Characteristic intervals 7. Recitation tones 8. The melodic structure 9. The musical motifs 10. Variations and improvisations 11. Other elements such as vibrato and intensity. B. The medium of performance ­ such as solo, choir, their combinations, or singing with instrumental accompaniment. C. The role of the text (in vocal music): The content; the form; the rijwe; the various meters of the text and the mutual relation of all these wi* the musical components; the amount of melisma. D. Extra­musical factors : holidays, service hours and various social functions. Up to now only partof these elements have been examined, and deifnitions enabling accurate comparison have not been reached4. Within the musical area only four elements have been examined: the conventional scale; the tessitura; the central notes; the musical motifs. The elements that do not change from mode to mode (even if they are highly characteristic of the music examined) have no part in deifnition, while the elements that change with the mode help deifne its framework. Thus, the framework of the music in a certain culture may be deifned by all the elements mentioned above or perhaps by only some of them. There may also be an inter­dependence between the elements, so that the nature of one will inlfuence another. For instance:a change in tempo may inlfuence the amount of melisma>' the existence of certain intervals may determine the motifs used; of each 4 For example, much has been said about the melisma of a song, but not in consideration of quantity. Thus under the heading of "melismatic song" we ifnd songs with slight melisma and others with heavy melisma. And we certainly do not know what part *e melisma Plays in the characterization of the melodies of the performer. Catalog TOC <<Page>> Significance of the Modal Framework 25 element may exist independently. The elements deifning the framework may be known to the performer and used according to well­deifned rules, or he may be unaware, or very vaguely aware, of them. The situation will probably differ in various cultures, in different geographical areas and in different historical periods. The factors stated above may also be inlfuenced by a speciifc musical tradi­ tion, oral or wirtten, or a blend of both.If the music exists in written f0rm> the method of notation is important. Similarly, the existence of any kind Of music theory contributes to the style and the rules which govern the performed music. It is clear that some of the elements mentioned may be deifned only through an examination of the performance practice. The Material Examined The writer has attempted to discover the signiifcanceof the modal framework in religious hymns as sung by the Greek­Orthodox and Greek­Catholic Arabs in Israel. Until the schism that took place in the nineteenth century these tW0 sects were undivided in the Orthodox Church. The two groups still use the same religious irte, in which the hymn singing tradition is a fusion of the local oral tradition and the written neo­Byzantine traditions whose principal centres are in Athens, the Lebanon and the Old City of Jerusalem. Today a number of differences have arisen between the two sects, but their basic customs and religious beliefs are still almost identical. At the time of the study, the Greek Catholic community numbered over 20,000 souls while the Orthodox contained 15,0006. Mostof them are concentrated in the northern districtof Israel (Galilee), where they have lived for hundredsof years. Since the establishment of the state of Israel great changes have taken place in the Arab community in general and in the Arab village in particular, but the eco­ nomic and social basis has not disintegrated. Despite changes in the society, religion has maintained a central position in the community, evenifits role has been weakened. The tradition formulated ­ The term "neo­Byzantine" or "Modern Greek" is used by most scholars to describe the music and theory of the Greek Otrhodox church after the reform of Chrysanthos at the begLtmmg of the nineteenth century. (For the different names given by scholars to the various stages of Byzantine music, see H. J. W. TiUyard, Handbookof the Middle Byzantine Musical Notation, Copenhagen 1935, pp. 17­18). * Most of this study was carried out in 1965, and thus does not deal with all the changes that have since occurred in this group. It is clear that all the information that will be presented deals only with that partof the group living in the Stateof Israel. But, in the light ofa general survey carried out among the section that lived underthe jurisdiction of the Jordan govern­ ment, it seems that there is not any additional material (except that found in the Old City of Jerusalem, which is a special case) that is likely to fundamentally modify the conclusions arrived at in this work. Catalog TOC <<Page>> 26 Daliah Cohen over hundreds of years has been preserved to diffeirng deSrees in various places and in distinct age groups. The changes occur in diverse ways: throuSh disintegration and neglect, only the aged attending services; by curtailment of the length of the service; by the addition of foreign, non­secular matenal in the contemporary Eastern style propagated in EgyP1 and the Lebanon; by the insertionof foreign material jn "old­fashioned" Western style, Partly under the inlfuence of Israel culture but mainly due to the inlfuence exercised b? the important centres of the Eastern liturgy (such as Athens and Jerusalem) where at one time there was a tendency towards Westernization (although there is now again a tendency to return to the origins). The changes are encountered in the two Christian communities, but disPlay different patterns. The Orthodox Church has manifested an inability t0 with­ stand change, resulting in neglect and dispersion. Greek­Catholic effotrs.to strengthen their Church have brought in new elements. Thus the 1ocal tradlt1on is subjected to various inlfuences that provoke a lackof unity in the performance of the liturgy, but many common traits remain nevertheless in *e sacred music tradition.7 The musical material chosen for this study, the singing of the hymns in the neo­Byzantine irte, is characteristic of Oriental liturgy.8 In the singing of hymns, as in most of the folk music of this 8rouP and of many other groups in our area, the performers play an important Part in the actual composition.

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